Camera Obscura

Papers
(The median citation count of Camera Obscura is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2020-11-01 to 2024-11-01.)
ArticleCitations
Not New to This: A Genealogical Approach to Black Girls’ Media Production12
Rewitched: Retextuality and the Queering of Bewitched3
Promoting the Image of Gender Equality in Swedish Film as the 2020 Deadline Expires3
Agnès Varda: Photography and Early Creative Process2
Agnès Varda and Le Collectif 50/50 en 2020: Power and Protest at the Cannes Film Festival2
Masturbatory Ecologies1
She Listened: Vardian Self-Portraiture and Auto-Refrains of Sea, Wind, and Sand1
Daughter of Saul, or Saul Leanya: The Gendered Place of Atrocity in László Nemes's Son of Saul1
Varda's Third Life1
Thinking Travesti Tears: Reading Loxoro1
Temporal Surfacing: Mosori Monika (1970) and Chick Strand's Cross-Cultural Explorations1
From Cannes to Cardboard: The Circulation and Promotion of Visages Villages and the Auteur on Instagram0
A Problem of Fit: Athina Rachel Tsangari and Greek “Weird Wave” Cinema0
What's Your Color? Mood Conditioning the Postwar Domestic Interior0
Revisiting Queer and Trans Representation in Junior0
Calculating Couples: Computing Intimacy and 1980s Romance Software0
Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s0
Tumbling Backward: Scrolling, Temporality, and One Direction Fan Narratives on Tumblr0
Floating Roots: Agnès Varda's Uncle Yanco0
Bodies in Water: Disability Cinemas and Creatures of the Sea0
Wages for Face-Work0
From Elif to Esty? Unorthodox and Turkish German Cinema's Captivity Narrative0
The Reserve Army of Affectivity: Unemployed Labor in William Greaves's Psychodramatic Cinéma Vérité0
Incestuous Wanderlust: 35 Shots of Rum's Atmospheres of Circulation0
Her Body, Her Choice: Tough Girl Affect, Trump Support, and the 2020 Pandemic0
Making Space0
Anna May Wong and Sessue Hayakawa: Racial Performance, Ornamentalism, and Yellow Voices in Daughter of the Dragon (1931)0
Christ, Santa Claus, Doctor Deliverer: For Carolee Schneemann0
Carolee Schneemann (1939–2019): Portfolio0
Just Be There: Ethics and Aesthetics of the Surface in Mike Mills's 20th Century Women0
Hammertime!0
“Virtual Varda”: Sustainable Legacies, Digital Communities, and Scholarly Postcards0
How the Computer Taught Us to See0
When Are You Going to Catch Up with Me?0
Toward a Feminist Fourth Cinema: Waru (2017)0
“Scotch! Scotch! Scotch!”: The Inoperative Domestic Scene in Chantal Akerman's Saute ma ville0
Remixing to Queer the Archives of Diaspora: Qajar Photography and the Persian Carpet0
Lock Them Up: The Cold Conservatism of Ang Lee's The Ice Storm0
Looking for Something New: Antonioni's La notte and Specters of Femininity0
Schneemann Sounding: Embodied Sonic Systems0
Appear to Disappear: Blackness, Affect, and the Political Imaginary0
Pandemic Stasis and Nonlinear Memory in Palestinian Short Films0
Conjuring Barbara0
Self-Suspension in Frames: Hito Steyerl's Lovely Andrea0
India's Daughter: It Is Time to Retire the Realist Rape Documentary0
Chantal Akerman and the Cinéfille0
Castle & Crook: Necroliberalism and Cartographies of Abandonment in Maquilapolis (City of Factories) and Señorita Extraviada (Missing Young Woman)0
Pretty Gross: Dialectics of Desire and Disgust in the Reception of Pipilotti Rist0
Interview with Florrie Burke0
Reading Border through Desire: Queer Indigenous Theory, Nordic Settler Colonialism, and Trans Aesthetics0
Ephemeral/Material0
“This Is Not a Performance”: Coming-Out Videos, LGBTQ+ Microcelebrity, and the Tenuous Rise of New Queer YouTube0
Carolee Schneemann's Sonic Shadow0
Passion, Commitment, Compassion: Les Justes au Panthéon by Agnès Varda0
Gift or Weapon? Reproductive Decision, the Phenomenology of Pregnancy, and Alien Language in Denis Villeneuve's Arrival0
Breaking at the Edges: Carolee Schneemann's Desires for Dance0
“A More Personal Look at Her Life”: Family Narrative, Gender, and Transnational Memories in The Girl and the Picture0
No Bodies Business: Trapdoor Tactics and the Art of Transgender Disappearance in A Fantastic Woman0
The Perverted Ancestry of the Antiheroine: Bad Mothers and Unruly Daughters in Sharp Objects and Mare of Easttown0
Regretting Nothing, or Regretting Everything? Postfeminism, Femininity, and Regret in Miss Austen Regrets0
Introduction: Future Varda0
Their Bodies, Their Selves: Reflexivity and Embodiment in 2010s Women's Autobiographical Author-Performer TV Dramedies0
Thoughts on Making Films with Barbara Hammer0
Sharon Lockhart's Philosophy of the Casual: Toward an Eco-Cinema of Sociability0
Female Surrogate Labor and White Corporeal Debt in Singin’ in the Rain0
The Anthropocene as Cinematic View: Time, Matter, and Race in Blade Runner 20490
Archiving Feeling in Yvonne Rainer's Journeys from Berlin/19710
The Feminist Refusal of I May Destroy You0
American as Apple Pie0
Viola Liuzzo / Heather Heyer: Mediating the Antiracist White Female Martyr0
Cinema, Taliban, and Being a Woman in Today's Afghanistan: An Interview with Sahraa Karimi0
Becoming User: Oracle, Barbara Gordon, and Representations of the User in Popular Culture0
Green's Clues, or What's Queer about Clue?0
The Unicorn and the Larva0
Editorial Office Workers’ Statement Regarding the UC System-Wide Strike0
“I’m Washing My Dishes and Making a Movie”0
Facing Death, Choosing Life: Pose's Positive Historiography0
On Carolee0
Continuous Weave: Feminist Experimental Filmmaking Genealogies0
Agnès Varda, Producer0
The Auto-Tuned Self: Modulating Voice and Gender in Digital Media Ecologies0
Symmetry, Violence, and The Handmaiden's Queer Colonial Intimacies0
“The very palpitation of life!”: “The Leaves Are Stirring” in Context0
“All Your Faves Are Problematic”: The Performative Spectatorship of Drunk Feminist Films0
House Body House0
Introduction: Late Hammer0
Agnès Varda, Jane Birkin, and Kung-fu Master!0
Aromantic Comedy: The Aro/Ace Aesthetics of Together Together0
The Leaves Are Stirring (1948)0
A Feminist Still0
Pleasure Aesthetics: On the Art of Mika Rottenberg0
Making “Women's News”: French Feminists of la Femme nouvelle (1934–36) and the Newsreel Magazine Actualités féminines0
Nonmaterial Overelaboration: Gender, Casting, and Camouflaged Labor in Pat Rocco's Promotional Travelogue0
Barbara Hammer and Queer|Art: Granting for the Future0
Appropriate Feminisms: Ambivalence and Citational Practice in Appropriate Behavior0
Introduction: Carolee Schneemann (1939–2019)0
The Documentaries of Barbara Hammer: Lesbian Creativity, Kinship, and Erotic Pleasure in the Historical Margins0
Art on Film at Finch College: Reproductive Labor in the Enrichment Economy0
Watching Women: Surveillance and Spectatorship in Early Science Fiction Television0
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